This page contains links to a series of
filmmaking articles that were written for the monthly ezine,
The Director's Chair.
| If
you are a Film or Television professional and would like to contribute your
expertise with filmmaking articles, tips or special reports,
please email me at: pdm@actioncutprint.com |
1 -Working with Actors:
Part 1 (Personality Traits) - Peter D. Marshall
One of the first things I do before
a casting session is to make a note of each character's personality
traits - the inner patterns and workings of their psyche.
Because all individuals have personality traits,
knowing what type of person you are dealing with is an important
first step to understanding the inner world of a character -
and the actor!
2 - Working with Actors:
Part 2 (The Casting Session) - Peter D. Marshall
When a director first gets a script,
you read it through several times to get a feel for what the
story is about and who the characters are. As you read the script,
you will get an impression of the characters. You then have a
meeting with the Producer(s) and the Casting Director to share
your ideas of the characters.
3 - Script
Breakdown - Script and Scene Analysis -
Peter D. Marshall
There are many facets of a
Director's prep on any film or TV show - from location scouts
and creative meetings to casting and scheduling. But the first, and most important part of your
job, is to understand the script - what the story is about; the
themes; the story points; the characters.
4 - Script
Breakdown - Character Analysis -
Peter D. Marshall
After reading the script and
working through the script structure and scene analysis, it's
time to figure out the development and objectives of the characters.
5 - Blocking
a Scene - Peter D. Marshall
When you first start directing,
blocking a scene can be one of the hardest - and most embarrassing
- parts of your job. Get it wrong here, and you could waste valuable
shooting time trying to get out of the mess you created!
6 - Rehearsing on the Set - Peter D. Marshall
When the DOP has finished lighting,
the 1st AD calls the actors back to the set for the rehearsal.
This is when all the elements of the scene are rehearsed together
- actors, camera, sound, stunts, effects etc.
7 -
Quick
Reference Directing List: Visual Concept and Colours - Peter D. Marshall
The following list contains
just a few of the "rules and guidelines" that I have
accumulated over the years.These tips are about film visual concepts
and colour and their meanings.
8 - Staging and Shooting a Fight
Scene - Peter
D. Marshall
Almost every film today has
some sort of obligatory fight scene between the good guy and
the bad guy. In this issue, I will share some tips on how to
stage and shoot a simple fight scene between two actors.
9 - Quick
Reference Directing List: Staging and Choreography - Peter D. Marshall
Staging and Choreography -
dramatic use of the camera and cinematic techniques to illuminate
the truth.
10 - "Convergence:
The New Media Reality" - Peter D. Marshall
Convergence was the main topic at the Lights! Camera! Convergence!
Symposium in Vancouver BC on January 27-28, 2001. The panel consisted
of representatives from companies on the cutting edge of the
digital evolution: interactive media, HDTV, visual effects, streaming
media and post-production services for the film and television
industry.
11 - The
Commercial Process: A Director's Point of View - Part 1 -
Tony Johns
What is a Commercial Director?
Unlike a feature film director, who has at least 90 minutes to
tell a story, a commercial director has, usually, only 30 seconds.
Like a feature film director, however, the onus is on the commercial
director to tell a story and to entertain.
12 - The
Commercial Process: A Director's Point of View - Part 2 -
Tony Johns
There are various ways you
can break into the world of commercial directing but the first
step for all aspiring directors is to put together a Showreel.
Think of it as your Curriculum Vitae with moving pictures. Without
one to show your abilities, you won't be offered a script.
13 - The
Commercial Process: A Director's Point of View - Part 3 -
Tony Johns
Ok, so you've been to film
school. Maybe you've shot a few spec commercials and music clips
and slowly you've built up a show reel. You now you feel you
are experienced enough to earn a living from your directing skills.
However, before anybody will take you seriously (and give you
heaps of money to make TV commercials and music promos, etc)
it helps to have a production company behind you.
14 - An
Open Letter From Your Sound Department - Part 1 - Various
This letter is being written
by audio professionals to help directors and producers understand
how good sound can be recorded on the set. We want to help you
make the best film possible. For this
piece, we will not discuss the topic of mixing itself, as this
is the "hocus pocus" part that you trust us to do so
well.
15 - An
Open Letter From Your Sound Department - Part 2 - Various
It is important to understand
the gravity and consequences caused when the words "We'll
loop it" are used. You are obviously
aware that extra ADR adds a financial burden to your budget,
but the consequences are much greater than that. Looping is only
an answer for situations where all else fails!
16 - An
Open Letter From Your Sound Department - Part 3 - Various
Budget in a third sound person
and the proper amount of audio equipment. A third person is invaluable
in getting sound problems fixed in the crucial moments between
the takes and scenes. Don't say "no" to any additional
sound related costs without considering the entire post budget
too.
17 - Shooting
a Feature in 65 Hours! - Mike Cecotka
Producer/Director
Mike Slawomir Cecotka's perfect formula for first time filmmakers
with an ultra low budget has proven successful. It took 5 months
of pre-production and almost six days to shoot the Hollywood
Sunrise Studio feature "Schizophrenia".
18 - Hard Truths - Brian Dannelly
Clean your
mess up. Get high too much? Hate your parents? Irresponsible?
Can't let go of your last relationship? Get a handle on these
things. They will not serve you or your career well and you need
every ounce of your being to do your best work.
19 - Directing Direct Response Television - Randal
K. West
Telling someone you are a Director
of Direct Response Television is somewhat like telling someone
you are an International Chef who cooks with Spam. Many people
assume infomercials direct themselves, and anyone who can get
a pitchperson and demonstration to stick to tape can produce
a successful one. Not true.
20 - The
Director's Prep - Episodic Television - Peter D. Marshall
Several people have asked me
about the order of a Director's Prep in episodic TV. The following
is a basic breakdown of what to expect when you are directing
an episode of a TV show. Every show
works a little differently, but here is a guide to follow. Hopefully,
you have had the script for a few days before you start prep
and you have seen some completed shows.
Copyright
(c) 2000-2006
Peter D. Marshall/www.actioncutprint.com
pdm@actioncutprint.com
All Rights Reserved